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Most Helpful Customer Reviews

"My (musical) world is a little bit dark. . . a little bit off-center. I think of it as tragically beautiful. That is how I would describe what I love best: tragically beautiful." Angelo BadalamentiToday's working hypothesis is no composer was ever more important to the success of a television show than Angelo Badalamenti was for his work on the David Lynch televison cult hit "Twin Peaks" (1990-91).The criteria here is not just coming up with a memorable instrumental theme song (in which case we just pick Lalo Schifrin for "Mission Impossible"), but the scoring of various episodes over the course of several seasons. By that standard what is the competition? Jan Hammer's work on "Miami Vice" got a lot of publicity, but when you think of the soundtrack for that show you are just as likely to think of Glenn Frey's "Smuggler's Blues" and Phil Collins' "In the Air Tonight" as you are the show's theme song or other incidental music. For me the close second would be w.g. snuffy walden's work on "thirtysomething," but that superb work (especially "second look") never received the publicity that Badalamenti did with "Twin Peaks" (Population 51,201).Besides the memorable main theme you have the haunting "Laura Palmer's Theme" and the quirky little "Dance of the Dream Man." The former was used in different variations to different effects throughout the series, eloquently underscoring the twists and turns in the search for her killer. Even when David Lynch writes some lyrics for Julee Cruise to sing, the mood produced by the music never changed. It is amazing to me how you could always be aware of what Badalamenti was doing while watching "Twin Peaks," yet the music never becomes intrusive or overwhelming. Instead it is a perfect compliment to the story and pictures. And remember:That gum you like, it's coming back in style...

If you're a Twin Peaks fan, like me, you can truly appreciate how incredibly perfect this soundtrack is to the greatest show ever created.Much like the series, this music creates the perfect mood. The music is ethereal, jazzy,sexy and totally hypnotic to the human ear.The cameo performances from Julee Cruise helps, her voice is much like the melodies, beautiful and dreamy, pure heaven.It brings you back to Peaks, a feeling I will never tire of.

There are no words to describe the quality of this album. Even unbelievable would seem like an understatement. Angelo Badalamenti is a genius, no question. Also, he has the brains to hook up with Lynch, which would automatically categorize anyone as great. BUY THIS ALBUM BEFORE YOU DIE!

This is less of a review, and more of a suggestion. If you buy this CD, and I highly recommend that you do - especially Twin Peaks fans - listen to it at least once on a good, high-quality set of headphones.There is a great deal of subtlety to this soundtrack that goes unrevealed when listening on a stereo or boom box.Listening with a headset actually seems to create a greater intimacy with the soundtrack - you suddenly hear a variety of previously hidden nuances, such as sounds and recording effects.It seems this music was made to be appreciated from "the center of it," if that makes sense, and not from across the room. Only headsets, or perhaps a really good surround-sound system, can physically put you where you need to be to appreciate the full quality of this work.Don't get me wrong. It's a good soundtrack however you listen to it, but listening to it on a stereo from across the room keeps you at a distance from some of the surprising quality of this work.

One of the sometimes-forgotten keys to the success of David Lynch's films is his use of composer Angelo Badalamenti. Badalamenti's moody compositions -- with their almost introspective, otherworldly sounds -- often times seem to be the key to lulling visitors into the world of Lynch's imagination. Often, Badalamenti's music so perfectly matches Lynch's images that it becomes impossible to seperate the two. Certainly, this is true of the score Badalamenti composed for Lynch's groundbreaking TV series, Twin Peaks. Even though Twin Peaks was cancelled over ten years ago, the minute I hear Badalementi's haunting theme music, I can automatically the deceptively placid opening images of the series' opening credits as clearly and perfectly as if I had just seen the show last night. Twin Peaks, as with most of Lynch's work, dealt with the chaos that usually raged beneath the safest exteriors and Badalamenti's score -- serene yet strangely ominous and always suggesting soemthing lurking right around the corner -- perfectly captured that theme. With soundtracks growing more and more bland (especially television scores, which are usually designed to be as unmemorable as possible lest a viewer be turned off), Badalamenti's work on this soundtrack serves as wonderful evidence of what a truly talented and individual composer can do even within the confines of the soundtrack genre.Also, note should be made of singer Julee Cruise's contributions to the soundtrack. Much like Badalamenti, Cruise's music has an otherworldly, slightly melancholy feel to it but whereas Badalamenti takes you back to the series' sense of menace, Cruise's songs serve to remind you of the romantically hopeful idealism that occasionally surfaced as well.Read more ›